Abstract: Valère Novarina sketches out a sort of cruciform laugh of unrestrained joy which opposes itself to tragedy. He also reconnects with that earthly and materialist Rabelaisian element which is the gluttonous and jubilatory liturgy of the Last Supper banquet and the tradition of the symposium. This article shows that, in a singular way, this inspired comic reconciles the profane and the sacred, and the Fathers of the Church and pataphysicians, in order to exalt the poetic power of language in the negative.
